Pub Date : 2020-01-01DOI: 10.47297/WSPCTWSP2515-470210.20200402
Wei Shiyi
Anthropomorphism ( “Ni-Ren-Hua” in Chinese) is not only an ancient habit, but also a new posthuman problem. On the one hand, with the development of modern scientific discourse and technical precision, anthropomorphism has gradually been devalued and regarded as the psychology and cognition of being primitive and irrational; on the other hand, anthropomorphism has also permeated into various artistic images and future conception. The concept of human has undergone drastic changes under the influence of modern scientific progress and globalization. Posthuman has shocked the anthropocentric positions in anthropomorphism, signifying the end of the subject forms that have taken shape since the Enlightenment. “Ni-Hua” removes “human” from the center of “anthropomorphism”, and opens new possibilities to posthuman subject becoming. “Ni-Hua” stresses the becoming of its communication and symbiotic ability while hinting the boundary as its cautious awareness and atmosphere. This is also an attempt to respond to the situation of posthuman with the application of Chinese discourse .
{"title":"“Ni-Hua”: Another Way to Posthuman","authors":"Wei Shiyi","doi":"10.47297/WSPCTWSP2515-470210.20200402","DOIUrl":"https://doi.org/10.47297/WSPCTWSP2515-470210.20200402","url":null,"abstract":"Anthropomorphism ( “Ni-Ren-Hua” in Chinese) is not only an ancient habit, but also a new posthuman problem. On the one hand, with the development of modern scientific discourse and technical precision, anthropomorphism has gradually been devalued and regarded as the psychology and cognition of being primitive and irrational; on the other hand, anthropomorphism has also permeated into various artistic images and future conception. The concept of human has undergone drastic changes under the influence of modern scientific progress and globalization. Posthuman has shocked the anthropocentric positions in anthropomorphism, signifying the end of the subject forms that have taken shape since the Enlightenment. “Ni-Hua” removes “human” from the center of “anthropomorphism”, and opens new possibilities to posthuman subject becoming. “Ni-Hua” stresses the becoming of its communication and symbiotic ability while hinting the boundary as its cautious awareness and atmosphere. This is also an attempt to respond to the situation of posthuman with the application of Chinese discourse .","PeriodicalId":53382,"journal":{"name":"The Bible and Critical Theory","volume":"56 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83919512","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.47297/WSPCTWSP2515-470205.20200402
Dan Hansong
“The posthuman”, as a cultural condition brought about by techno revolutions, should be discussed along with animals, which function as “the other” that helps with the configuration of posthuman subjectivity. By regarding human beings, animals and cyborgs as “companion species” in the broad sense, Donna Haraway creates new space for making an alternative critique of posthumanism usually associated with informatics and cybernetics. Haraway’s conception of animal, on the one hand, underscores the relationality between men and animals, which not only challenges the anthropocentric image of animals fostered since the Enlightenment, but stands as a counterpoint to the animal philosophies of Deleuze, Levinas and Derrida. On the other hand, Haraway’s posthuman ethics on animals, though derived from the frontier of modern biosciences, remains utopian when it comes to an on-the-ground practice in the lived world. The difficulties of carrying out Haraway’s animal ethics are manifest in her problematic engagement with Spivak’s postcolonial critique. This essay suggests that we need to perform empathic cross-species imagination which finds its embodiment in the domain of literary text. Only by doing so can we find a path to the so-called “Cosmopolitics” rooted in the corporeal and historical commonality of men and animals.
{"title":"“Companion Species” and Donna Haraway’s Critique of Post-Humanism","authors":"Dan Hansong","doi":"10.47297/WSPCTWSP2515-470205.20200402","DOIUrl":"https://doi.org/10.47297/WSPCTWSP2515-470205.20200402","url":null,"abstract":"“The posthuman”, as a cultural condition brought about by techno revolutions, should be discussed along with animals, which function as “the other” that helps with the configuration of posthuman subjectivity. By regarding human beings, animals and cyborgs as “companion species” in the broad sense, Donna Haraway creates new space for making an alternative critique of posthumanism usually associated with informatics and cybernetics. Haraway’s conception of animal, on the one hand, underscores the relationality between men and animals, which not only challenges the anthropocentric image of animals fostered since the Enlightenment, but stands as a counterpoint to the animal philosophies of Deleuze, Levinas and Derrida. On the other hand, Haraway’s posthuman ethics on animals, though derived from the frontier of modern biosciences, remains utopian when it comes to an on-the-ground practice in the lived world. The difficulties of carrying out Haraway’s animal ethics are manifest in her problematic engagement with Spivak’s postcolonial critique. This essay suggests that we need to perform empathic cross-species imagination which finds its embodiment in the domain of literary text. Only by doing so can we find a path to the so-called “Cosmopolitics” rooted in the corporeal and historical commonality of men and animals.","PeriodicalId":53382,"journal":{"name":"The Bible and Critical Theory","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83103605","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.47297/WSPCTWSP2515-470201.20200401
Ma Dakang
Behavior language and speech act are the two kinds of the most original and basic symbol systems in human society. When the speech act is separated from the behavior language, the harmony between human and nature is broken, and the gaps are emerged. Fundamentally speaking, culture is the result of collaborative construction by speech act and behavior language to bridge the gaps, among which the religion, science, literature, and art are merely different ways. Generally, all that including culture, civilization, human mind and body, human subjectivity and self are exactly formed by these two acts (Language).
{"title":"Language: The Creator of Human Civilization","authors":"Ma Dakang","doi":"10.47297/WSPCTWSP2515-470201.20200401","DOIUrl":"https://doi.org/10.47297/WSPCTWSP2515-470201.20200401","url":null,"abstract":"Behavior language and speech act are the two kinds of the most original and basic symbol systems in human society. When the speech act is separated from the behavior language, the harmony between human and nature is broken, and the gaps are emerged. Fundamentally speaking, culture is the result of collaborative construction by speech act and behavior language to bridge the gaps, among which the religion, science, literature, and art are merely different ways. Generally, all that including culture, civilization, human mind and body, human subjectivity and self are exactly formed by these two acts (Language).","PeriodicalId":53382,"journal":{"name":"The Bible and Critical Theory","volume":"01 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88460274","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.47297/WSPCTWSP2515-470205.20200401
Mattia Thibault
This paper addresses the question whether it is really possible to use play and games for non-playful means. In order to answer this question, a map of the different ideologies of play is drawn, starting from the idea that play is something silly and unimportant to the more hostile reactions towards games portrayed as dangerous, to the enthusiastic idea – linked to gamification – of using play in every situation in order to boost engagement and participation. These ideologies are then situated around a semiotic square based on their attitude towards play and it is suggested that a fourth position may exist, less easy to handle but possibly more objective.
{"title":"Taming Play: A Map of Play Ideologies, from Moral Panic to Gamification","authors":"Mattia Thibault","doi":"10.47297/WSPCTWSP2515-470205.20200401","DOIUrl":"https://doi.org/10.47297/WSPCTWSP2515-470205.20200401","url":null,"abstract":"This paper addresses the question whether it is really possible to use play and games for non-playful means. In order to answer this question, a map of the different ideologies of play is drawn, starting from the idea that play is something silly and unimportant to the more hostile reactions towards games portrayed as dangerous, to the enthusiastic idea – linked to gamification – of using play in every situation in order to boost engagement and participation. These ideologies are then situated around a semiotic square based on their attitude towards play and it is suggested that a fourth position may exist, less easy to handle but possibly more objective.","PeriodicalId":53382,"journal":{"name":"The Bible and Critical Theory","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88941984","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.47297/WSPCTWSP2515-470202.20200401
Liu Xuguang
Even though Ancient Greek philosophy combined truth with art so as to “ save the phenomena ” , philosophers treated art narrowly and re garded “ truth ” as the only yardstick. Consequently, the essential issue of aesthetics that how people establish the truthfulness of art in terms of ontology arose. Thought to the truthfulness of art was initially carried out in three aspects. First is the battle between “ poetry ” and “ philosophy ” ; the second is whether “ crafts ” could be an approach to knowing truth; third is the conflict between the mythos and the logos. The mythos uncovered by Plato has laid the foundation for unfolding and deepening the truthfulness of art for the following two thousand years, thus preparing the ground for the truthfulness of art in terms of epistemology.
{"title":"The Origin of the Question of Truth in Art","authors":"Liu Xuguang","doi":"10.47297/WSPCTWSP2515-470202.20200401","DOIUrl":"https://doi.org/10.47297/WSPCTWSP2515-470202.20200401","url":null,"abstract":"Even though Ancient Greek philosophy combined truth with art so as to “ save the phenomena ” , philosophers treated art narrowly and re garded “ truth ” as the only yardstick. Consequently, the essential issue of aesthetics that how people establish the truthfulness of art in terms of ontology arose. Thought to the truthfulness of art was initially carried out in three aspects. First is the battle between “ poetry ” and “ philosophy ” ; the second is whether “ crafts ” could be an approach to knowing truth; third is the conflict between the mythos and the logos. The mythos uncovered by Plato has laid the foundation for unfolding and deepening the truthfulness of art for the following two thousand years, thus preparing the ground for the truthfulness of art in terms of epistemology.","PeriodicalId":53382,"journal":{"name":"The Bible and Critical Theory","volume":"6 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82141369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2020-01-01DOI: 10.47297/WSPCTWSP2515-470203.20200401
B. Surace
Seen from a Western perspective, contemporary Chinese cinema seems to be characterized by two interrelated dimensions: a positive tendency to formal experimentation and a stimulating – and maybe symptomatic – obsession with issues related to time. The purpose of my paper is to investigate the relationship between these two features utilizing a comparative approach. Time as an aesthetic object pervades Chinese cinema across genres and atmospheres, from drama to comedy, from thriller to documentary. Despite the differences between these kinds of movies, the theme conceals a sort of common key, which can be used to interpret Chinese culture and tastes. I will attempt to provide the semiotic schemes for comprehending how time is quantitatively and qualitatively created in a corpus of movies, also comparing them to their ideal counterparts in Western cinematography in order to pinpoint the reciprocal formal specificities. Mountains May Depart (山河故人 , Jia Zhangke 2015 ) splits itself in a sort of dialectic between past, present and future, and reflects on the trauma of separation; Black Coal, Thin Ice (白日焰火 , Diao Yinan 2014 ) combines the feel of noir movies with the materiality of time; A Touch of Sin (天注定 , Jia Zhangke 2013 ) juxtaposes four different spacetimes, uniting them with a violence which is highly metaphorical, as happens, for example, in the postmodern splatter of Quentin Tarantino; Mrs. Fang (Wang Bing, 2017 ) follows in a documentary frame the life of a woman affected by Alzheimer’s disease, with a slow rhythm which clashes with the frenzy of modern life, configuring two
{"title":"Ellipses and Amnesias. Poetics and Figures of Time in Contemporary Chinese Cinema","authors":"B. Surace","doi":"10.47297/WSPCTWSP2515-470203.20200401","DOIUrl":"https://doi.org/10.47297/WSPCTWSP2515-470203.20200401","url":null,"abstract":"Seen from a Western perspective, contemporary Chinese cinema seems to be characterized by two interrelated dimensions: a positive tendency to formal experimentation and a stimulating – and maybe symptomatic – obsession with issues related to time. The purpose of my paper is to investigate the relationship between these two features utilizing a comparative approach. Time as an aesthetic object pervades Chinese cinema across genres and atmospheres, from drama to comedy, from thriller to documentary. Despite the differences between these kinds of movies, the theme conceals a sort of common key, which can be used to interpret Chinese culture and tastes. I will attempt to provide the semiotic schemes for comprehending how time is quantitatively and qualitatively created in a corpus of movies, also comparing them to their ideal counterparts in Western cinematography in order to pinpoint the reciprocal formal specificities. Mountains May Depart (山河故人 , Jia Zhangke 2015 ) splits itself in a sort of dialectic between past, present and future, and reflects on the trauma of separation; Black Coal, Thin Ice (白日焰火 , Diao Yinan 2014 ) combines the feel of noir movies with the materiality of time; A Touch of Sin (天注定 , Jia Zhangke 2013 ) juxtaposes four different spacetimes, uniting them with a violence which is highly metaphorical, as happens, for example, in the postmodern splatter of Quentin Tarantino; Mrs. Fang (Wang Bing, 2017 ) follows in a documentary frame the life of a woman affected by Alzheimer’s disease, with a slow rhythm which clashes with the frenzy of modern life, configuring two","PeriodicalId":53382,"journal":{"name":"The Bible and Critical Theory","volume":"11 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90284118","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The nature of the Bible","authors":"J. Barton","doi":"10.4324/9780429025792-2","DOIUrl":"https://doi.org/10.4324/9780429025792-2","url":null,"abstract":"","PeriodicalId":53382,"journal":{"name":"The Bible and Critical Theory","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75944793","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Bible in the modern world","authors":"J. Barton","doi":"10.4324/9780429025792-1","DOIUrl":"https://doi.org/10.4324/9780429025792-1","url":null,"abstract":"","PeriodicalId":53382,"journal":{"name":"The Bible and Critical Theory","volume":"54 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87418670","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：